The beautiful thing about immersive, sight -specific theatre is that it has a particularly unique way of allowing audience members to see the world of the show. When the piece of the world you invite your audience into is the living space of your characters, it says more about these people than what’s written on the page sometimes.

Untitled, 1970 is about two men, Joey and Tristian, friends sharing an apartment in Brooklyn. The audience is welcoming into that apartment, quite literally. The show is (mostly) staged in an apartment in Brooklyn. Guests are sitting in their living room on couches and cushions and chairs. They walk up and grab a drink from their fridge at intermission. They are asked not to used the bathroom during the run as that becomes part of the set.

But the action of the story doesn’t just take place in the one living room. Scenes performed live are interspersed with video footage of scenes at a nearby supermarket, the outside street, the roof, local bars. The use of the footage to expand how much of the world of the story the audience is allowed to see was a brilliant use of the technology. It allowed for a lot more show not tell without having to figure out the best way to represent different spaces physically in one location.

The incorporation between live and filmed scenes was smooth and well executed. It also allowed for the use of other techniques, including some great use of montage. While there were also moments of the actors interacting with the screen showing footage they’re watching on T.V., the projections essentially acted as short films spliced in with the in person performances.

Arantxa Ibarra’s staging mostly follows a more classic proscenium style set up, with the audience set up to face all of the action in the living room as well as the screen on the wall to watch the film footage. The benefit to this, of course, is that it means none of audience misses any of the show, even if it feels less immersive than something more in the round. While her staging in the living room is fantastic, her directing really shines with the cinematic segments. The best testament, however, is the way these woven together pieces feel like a cohesive whole.

The story is the brainchild of Styrmir Elí, who co-wrote the script with Ibarra and starred as Tristian. Tristain and Joey (played by Charlie Jordan) are both European immigrants who came to New York to pursue artistic endeavors, but philosophically and personality wise they are polar opposites. Joey is more nihilistic and struggling with depression while Tristain is more hedonistic, passionately looking for enjoyment in everything. It examines different philosophies about what it means to live life fully and honestly. Jordan and Elí do an incredible job carrying the show, their relationship together feels solid, but it’s Jordan’s portrayal of Joey’s arc that felt like it most deeply resonated.

Inventively presented, Untitled, 1970 is a poignant reflection on life and passion through the lens of one of the groups of people who would have thought about these things more than most anyone else – artists who moved to New York City with a dream. The heart and ambition behind it are obvious in every moment. And it is certainly worth accepting the invitation into an apartment in Brooklyn to experience.